호앙 미로

http://www.mirokorea.co.kr

 

미로의 꼬믈꼬물 드로잉, 화려한 색채, 숨은 그림 찾기    

그런 대표작은 오지 않았지만, 

스페인 바르셀로나에 위치한 미로미술관에서도 보지 못했던  그의 작품들이 출현한 전시였다.  

일본에서 받은 영향때문인지, 현대작가 로버트 마더웰의 작품을 연상케하는 동양화의 붓터치를 찾아볼 수 있어서 새로웠다.  

물론, 동양의 먹을 사용하진 않있더라, 오일아크릴릭 이라고 재료에 적혀있다. 

어떤 작품은. 김환기 작가의 작품도 떠올이기에  미로의 다른 면을 찾을 수 있었다. 

Joan Miró: Painting and Anti-Painting 1927–1937 is the first major museum exhibition to identify the core practices and strategies Miró used to attack and reinvigorate painting between 1927 and 1937, a transformative decade within his long career. Taking his notorious claim—“I want to assassinate painting” —as its point of departure, the exhibition explores twelve of Miró’s sustained series from this decade, beginning with a 1927 group of works on canvas that appears to be raw and concluding with 1937’s singular, hallucinatory painting, Still Life with Old Shoe. Acidic color, grotesque disfigurement, purposeful stylistic heterogeneity, and the use of collage and readymade materials are among the aggressive tactics that Miró used in pursuit of his goal. By assembling in unprecedented depth the interrelated series of paintings, collages, objects, and drawings of this decade, this exhibition repeatedly poses the question of what painting meant to Miró and what he proposed as its opposite, and in the process reveals the artist’s paradoxical nature: an artist of violence and resistance who never ceased to be a painter, a creator of forms. A fully illustrated catalogue accompanies the exhibition.

 

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